In the last years of her life, Countess de Castiglione, now a prematurely aged, toothless, and bald recluse, invited her former collaborator Pierre-Louis Pierson, himself over seventy years old, to photograph her in the various attires of her youth. Two identical sets of ten images, each assembled in booklet form, show her in a ball gown, striking different poses as in the tableaux vivants she had composed thirty years earlier. In one of the booklets, she disguised her girth with pinned-down slivers of paper indicating where the negative should be retouched. The countess described her outfit on the cover as a dress of "pompadour pink silk, peignoir of black gauze, real roses, and a curly blond wig." She named the set "Série des roses," giving each image a title appropriate to its mood. The countess called this portrait "Rose Trémière," or hollyhock, which in France is associated with the grave.

A series of ten poses entitled "Série des roses." Two identical sets, each kept in a sleeve, show the sitter in a ball gown striking different poses. One set remains as the camera photographed it (2005.100.387.1-.10); the other shows the retouchings intended by the Countess, indicated by bands of paper pinned onto the photographs (2005.100.388.1-.10). These alterations were faithfully transferred to the negatives.

On the cover page of the sleeve containing the retouched photographs there is a list of titles that reads like a last farewell to a fashionable life: "Série des Roses / de Passy / des Tulieries / de Compiègne / du Caffé Voisin / de Boulogne / de 1856 à 1895..." This is followed by an aide-mémoire: "Same dress / pink silk Pompadour / black gauze peignoir / fresh roses / curly blonde [wig]." [PA; "La Divine Comtesse", p. 185-6]